Cerca:mach one

Shlomi Aber & Kashpitzky join forces once again to make their Blueprint Records debut with four formidable techno tracks on the "Sonic Underworld EP".



Barcelona-based Shlomi Aber brings over two decades of production and DJing experience to his music, drawing inspiration from Jazz, Funk, Acid and the old-school Detroit Techno scene. With releases on Cocoon, Ovum, R&S, Figure, CLR, Drumcode, BPitch, Renaissance and his own Be as One Imprint, along with his dynamic mixing technique, has gained him global success while headlining clubs, festivals and venues worldwide.



Growing up, Kashpitzky began his musical path playing guitar in a metal-core band, before trading amps for drum machines. After relocating to Berlin, he graduated from the SAE Institute. A DJ who's hard to pigeonhole, he has a track for every occasion. His definition of techno is best exemplified by his energetic, yet deep and groovy productions, often combining broken beats with organic textures via releases on the likes of MindTrip, Monnom Black and of course, Shlomi's Be As One.

Hassan Abou Alam is next to step up to the unconventional Nerve Collect label with six tracks of futuristic club-ready chaos. The finely crafted EP arrives in August and comes on 12" vinyl and via all digital platforms.

Hassan Abou Alam has established himself as one of Egypt's most innovative underground musicians over the last 10+ years. His music is a meeting of disparate worlds - organic and synthetic designs, digital and analogue tools, the traditional and the futuristic, and it has come on the likes of YUKU, Rhythm Section, Banoffee Pies and Casa Voyager. His versatile sound pulls apart existing genres and reconstructs them as something entirely new.

Opener '3asabi' is a stylish sonic assault with thumping rhythms and trippy oscillations that will get any dance floor bouncing. It's fun yet functional, serious yet seductive and 'Basha' Ft. ZIAD ZAZA, Ismail Nosrat & Aly B is another kinetic fusion of hand claps and complex drum funk, Egyptian vocal gymnastics and punchy bass. 'Ghalat' has lurching drums and plunging bass driving on beneath mangled synths, odd vocalisations and percussive splatters drawn from a unique sound palette. The drilling low ends of 'Khalsana' Ft ZIAD ZAZA are offset by fluttering percussive details up top while spare but booming kicks shake every bone in your body and the bassline devastates.

There is no let up on 'Mesh Mafhoom' which is a ritualistic workout with moments of melancholic synth soul shining through the jumble of tin-pot percussion and crashing hits. Closer 'Zein' is more body-popping brilliance that channels ancient spirits into warped synths and rhythms so complex they melt the mind.
Hassan Abou Alam's blurring of the lines between the real and the imagined is second to none on this EP. It's a sub-heavy mix of the human voice, machine-made sounds and inventive rhythms that make for something new, weird and wonderful.

After Prince Istari finished the Dub Encounter with Erik Satie, he
immediately set to work on expelling the evil curse of artificial intelligence. While the encounter with Satie was guided by the original
compositions, this album delves deeper into dub science.

The opening track is "Curse Of Machine Learning," a grinding cumbia dub track that sucks you into the curse of machine learning. It's followed by "Artificial Neural Network," arguably the album's most nerve-wracking track, with wild snare rolls colliding with offbeat echoed riddim sections. "Large Language Models" offers a more relaxed, arabesque one-drop riddim with speech synthesis vocals. "Fake Image" closes the first side with a full trombone solo contributed by Eugene Rosebud.

Side B starts with the one-drop killer tune "Haunted By Delusion,"
featuring an organ solo by Prince Istari. Drum and bass in your face.
"Evil Forces," on the other hand, is a fusion of jazz and dub; after the
brass section breakdown, it rolls into a crazy synth solo. Then next „I
Want Your Data" pulls your data into the AI's guts with a vibraphone.
This is maybe the ambitious tune on the record speaking of chord
progressions. The final track sees Eugene Rosebud return with a double trombone solo in "Transhuman Feedback Rock" assisted by a saz cooling the blues pattern with a hookline. Here we have beautifull springreverb and harmonizer dub effects on the snare twirrling around the trombone solos.

All tunes composed, arranged, conducted and engineered by Prince Istari and played by his house band The Virtualistics. Trombone Solos by Eugene Rosebud. Packaged in a nice cover drawn by Markus Schäfer and frequency shift and cut by LXC.

Futurismo proudly present a celebration of the Paisley Underground scene with TWISTED DREAM MACHINE The Paisley Underground / California’s Psychedelic Renaissance: 1982-1986, the next volume in their Altered Vision compilation series.

This collection draws from the neo psychedelic movement that took hold in California during the early to mid 80’s, one that melded the psychedelia, country, garage rock, avant-garde and pop of the 60’s with the DIY ethos of the then burgeoning punk scene, a hypnotic amalgamation of sound that came in staunch contrast to the blown out sonic excesses of the time.

Twisted Dream Machine takes you on a trip from the city to the desert, as the kaleidoscope of noise drifts from the The Dream Syndicate’s Velvet Underground inspired take on Crazy Horse and The Three O’Clock’s chiming baroque powerpop, to Rain Parade’s dreamy Beatlesesque melodies and the Bangles hook-laden Love inspired pop. Also featured are the wondrous sounds of Green On Red, The Long Ryder’s, Game Theory, True West, Thin White Rope and others highly worth your attention. If you are not familiar with some of the bands here, you will surely question how that is possible. The Paisley Underground, if anything, encapsulated a certain musical mindset, an outlook where the past and the future would collide in the moment. This thread would bond the bands, yet each honed it’s own sound in a twisted incarnation of the seeds planted two decades earlier. Whilst the ‘scene’ did remain contained, its influence did in fact spread throughout mainstream culture as the Bangles stuck a chord into the heart of MTV, whilst Prince took inspiration from the movement in his own songwriting and the naming of Paisley Park, as well as signing The Three O’Clock to his label and writing one of the Bangles biggest hits.

As you listen to the tracks on Twisted Dream Machine you will be reminded that there is still music left to discover and inspire, this compilation is aimed to hopefully delight longtime fans, as well as ignite a passion for those new to the bands. The Paisley Underground was the sound of neo psychedelic rock, it was subterranean pop...in

the classic sense, it was alternative rock before the term existed, a distillation of the fundamentals present at the dawn of rock ‘n’ roll, with a twist. The bands of the Paisley Underground may have been writing out of their own time, but as you listen to them in today’s context these songs should be heard as landmarks, rather than throwbacks. After all, nothing this good should stay underground. This 2xLP comes on limited edition coloured vinyl, it is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos and liner notes by Lisa Fancher of Frontier. Also available on CD with Gloss laminated Sleeve and Fold Out Poster.

Everything is out of control / from melting pots to melting poles - das aktuelle Album der Grazer Alternative-Bande The Base lässt unsere Welt abgeranzt und hässlich glänzen. So beginnt es gleich wie ein dunkler, erdiger field holler. Bei einem field holler rufen sich Sklaven, Gefangene oder Zwangsarbeiter Worte und Sätze zu, die durch ihre Wiederholung den Rhythmus zum Arbeiten angeben - und zum Überleben. Sing or die! Everything falls apart / and everyone is acting smart. Norbert Wally und seine beiden Spießgesellen starten ihre torture de force im tiefen Süden, in der Ursuppe des Rock`n`Roll, im tiefen Sumpfland des Delta-Blues. Aber The Base sind weit davon entfernt, eine Bluesplatte aus dem Schlamm und Dreck auszugraben. Bei "It's all Going South" stehen eher Bands wie Fun Lovin' Criminals, The Clash oder Pixies Pate. The Base verstehen Blues als Brandbeschleuniger: Die Stories, die Statements, die Visionen - kaum je waren Norbert Wally (Voice/Guitars), Albrecht Klinger (Bass) und Karlheinz Miklin Jr. (Drums) so politisch, so sozialkritisch, so wütend. Und nie waren sie so sarkastisch wie 2024. Blues, das heißt Tanzen auf dem Vulkan. Lachen beim eigenen Begräbnis. Und die Fäuste ballen, wenn miese Abzocker das Gute und Schöne beflecken um aus der Wahrheit eine Ware zu machen. Der Opener "High Time For Panicking" ist ein Meisterwerk für sich: Innerhalb von eineinhalb Minuten schießt er uns vom Pre-War Blues alter Lomax-Shellacs in den lärmigen Groove einer New Wave Combo, die um ihr Leben spielt. Der Titeltrack "It's All Going South" flimmert der Ferne wie ein Wüstenkaktus in, der gerade von Mr. Tarantino in einem 1967er Chevrolet Impala Sport Sedan niedergewalzt wird: dünenweise Hall auf der massiv geforderten Gitarre, die in Slow-Mo durch die Story wandert. Ein Bass, der vor Clint Eastwood den Hut zieht. Die Atmosphäre: Calexico deluxe. "Alles geht den Bach runter" so Wird die titelgebende Redewendung ins Deutsche übertragen. "Chemically Speaking Alcohol Is Still A Solution" könnte als Antwort auf alle gutgemeinten Versuche gehört werden, eine Welt voller Diktatoren, Kriegsgerät und Wahnsinn mit Vinyasa-Yoga und Lactobacillus bulgaricus im Joghurt zu retten. Waren die vorhergehenden Alben betont reduziert und puristisch, so gönnen sich The Base auf "It's All Going South" Backgroundchöre, fetten Vintagesound und lassen ausgiebige Studioeffekte. Das sitzt jedoch alles wie angegossen und zeigt die Qualität der Songs, denen knapp anliegende Taucheranzüge ebenso gut stehen wie schillernd verbrämte Kostüme. Niemand zieht aus dem Wort "happy" so viel Melancholie wie Norbert Wally und folgerichtig ist auch die Single-Auskoppelung "Waiting for June" ein Liebeslied, das gar keines ist. Aber der zwingendste Grund das Album anzuhören heißt "No One's Safe". Ein Song der sich wie ein Drillbohrer durch das Innenohr zur Großhirnrinde vorarbeitet. Soundcollagen, Voice-Over, eigenartiger Noise - immer tiefer bohrt sich der Song, bis er den Erdkern erreicht. Norbert Wally zeigt in seiner Stimme eine elegante Verletzlichkeit, die an einen David Bowie der 70er-Jahre erinnert. Die Intensität von OK Computer drängt sich auf. Niemand ist sicher. Game over! "It's All Going South" ist die bisher schmerzhafteste, politischste Platte von The Base. Wie schade, wir werden alle untergehen - und das kann zumindest verdammt sexy klingen.

Marcin ist ein weltweites Phänomen und der Gitarrist der Gen Z. Sein Debütalbum "Dragon in Harmony" ist eine Demonstration seines selbst-entwickelten, atemberaubend virtuosen Stils, Gitarre zu spielen in 14 genre-übergreifenden Titeln. Bei TikTok, Youtube und Instagram begeistert Marcin Millionen Follower mit seinem unnachahmlichen Stil, die Gitarre mit beiden Händen am Griffbrett zu spielen. Er zerlegt Klassiker aus Rock, Hip-Hop oder Klassik in "real time" in ihre Einzelteile und türmt diese zu neuen Gitarren-Arrangements auf, wobei er die Akkorde, Melodien und eine handtrommelartige Percussion gleichzeitig spielt. Ein musikalisches Spektakel als One-Man-Show. Auch Kritiker vom "Rolling Stone", "Billboard", "Premier Guitar" oder "Guitar World" preisen Marcin als "einen der talentiertesten Gitarristen seiner Generation". Mit all seinen Erfahrungen aus den letzten Jahren hat Marcin sein Album "Dragon in Harmony" konzipiert. Er möchte ein Publikum weit jenseits der Gitarren-Fans erreichen und erklärt selbstbewusst: "Mein Statement an die Gitarrenpuristen ist: Ja, ihr habt recht. Die Gitarre ist tot. Macht weiter so wie bisher. Mein Ziel war es aber schon immer, ein breites Publikum zu begeistern." Zusammen mit Producer Dan Book (Blink-182, Shania Twain, Britney Spears) verbindet Marcin auf "Dragon in Harmony" eine genreübergreifende Sammlung von Originalkompositionen und Covern zu einem harmonischen Ganzen. Songs von Justin Timberlake ("Cry Me A River"), Sade ("Smooth Operator") und Nirvana ("Heart-Shaped Box") fügen sich schlüssig an Kompositionen von Mozart (Requiem), Debussy ("Claire de Lune") oder Miles Davis/Bill Evans ("Nardis"). Der Alternative-Radio-taugliche Titel "When The Light Goes", für den Marcin den Sänger Portugal.The Man (bekannt für seinen Hit "Feel It Still") eingeladen hat, und "Allergies" mit Sängerin Delaney Bailey, bilden weitere stimmige Farbakzente auf dem Album. "Ich wurde im Jahr 2000, dem Jahr des Drachen, geboren und veröffentliche mein Debüt im Jahr 2024, ebenfalls ein Jahr des Drachen. Der Drache ist ein feuriges, mythisches Wesen, ungezähmt und chaotisch. Aber er steht ebenso für Harmonie. In den letzten Jahren habe ich viele unterschiedliche Dinge ausprobiert, die scheinbar nicht zusammenpassen. Mit meinem Album mache ich jetzt eine künstlerische Aussage, die kohärent ist. The dragon is in harmony." erläutert Marcin seine Album-Idee. Mit Ichika Nito ("I Don't Write About Girls") und Tim Henson von der Band Polyphia ("Classical Dragon") sind zwei weitere junge Gitarren-Heroes für jeweils einen Titel als Duett-Partner zu hören.

Death and the Maiden’s Uneven Ground draws back the velvet curtain on the trio’s crepuscular dreamworld with nine songs of their distinctive shadowy slow-motion fusion of underground electronic dance music and post-punk guitars washed through with psychic unease. The trio’s name is taken from that of a nineteenth century engraving by Edvard Munch: an artwork steeped in mythology, exploring the dark boundaries between love and death, strength and frailty, beauty and decay. Their three albums to date each reinforce the symbolism of the name, and Uneven Ground’s title could apply as much to their own journey in the years since Wisteria, their previous album, as to the times in which we live. Bassist and vocalist Lucinda King is the bedrock, guide and storyteller. Guitarist Hope Robertson weaves swooping, soaring motifs and sometimes deconstructed layers of noise to build analogue atmosphere for these alternate worlds. Danny Brady’s beats mix old-school drum machines with electronic tones and distortion, while his synth arrangements blend elements of psy-trance and acid house with more amniotic ambient and industrial textures. While Uneven Ground may be the most overtly “pop”-sounding album in their catalogue, it also ratchets up the ominous atmosphere, noise and experimentation. Once again King’s evocative lyrics appear as cryptic stories, built from events, memories, dreams, moments, warnings, regrets; where questions raised are left unanswered, and possibilities remain open.

Mit King Of The Mischievous South Vol. 2 präsentiert Denzel Curry eine Fortsetzung des Projekts und bringt den Sound zurück, der seine Karriere begründete. Während der erste Teil von King Of The Mischievous South aus der Perspektive seiner Raven Miyagi-Persönlichkeit entstand, einem Namen, den ihm
der Gründer des Raider Klan, SpaceGhostPurrp, gegeben hat, ist Curry in Volume 2 in seiner Big UltraPersönlichkeit zu hören - eine erweiterte Version von Raven Miyagi, die prahlerisch ist und in dem Erfolg schwelgt, den Curry in den letzten zehn Jahren seiner Karriere hatte. King Of The Mischievous South Vol. 2 zu machen, war schon seit einiger Zeit ein Ziel von Curry, obwohl seine ersten Versuche, dies zu tun, letztendlich in andere Projekte übergingen, nämlich sein Album Imperial von 2016 und 13LOOD 1N + 13LOOD OUT von 2020. Erst als er aufhörte, sich zu sehr um Volume 2 zu bemühen, entstanden die Songs von selbst.

Der Sound des Projekts ist eine Hommage an das große musikalische Erbe des Südens und enthält alte und neue Größen der Region sowie andere, deren Stil dem musikalischen Erbe des Südens verpflichtet ist. Nach all den weltfremden Abenteuern, auf die Denzel die Hörer/innen im Laufe seiner letzten konzeptionellen Alben mitgenommen hat, dient dieses Projekt als Schaufenster für den Spaß, die Spontaneität und die technische Meisterschaft, die ihn im Laufe des letzten Jahrzehnts zu einem der gefragtesten Talente
im Rap gemacht haben.

Slush Records are back for their second outing, remastering and rereleasing Sedona’s highly sought-after 1995 track, ‘Pulsation’. A portal to the underground of the ‘90s, Sedona’s original mixes and the remix from Robert Vaughan, fuse progressive house, trance and breakbeat, each oscillating to their own unique frequency. Not stopping there, Slush Records enlist the expertise of Seoul-born, Amsterdam-based Naone for a mesmerising new remix that harnesses all of that early ‘90s energy, with a fresh dynamism.

The story of Sedona begins with Dale Charles and Benny Blanco. As a touring DJ and buyer at Boston Beat Records in the mid ‘90s, Dale Charles was in diggers paradise. Freestyle was big business at the time and as a progressive house and breaks DJ, Dale couldn’t help but notice how good the drum programming was on some of the tracks. He spent endless hours trawling through the shops near 10,000 freestyle records, hoping to find that elusive secret weapon.

One day Dale found the break he was searching for and took it to Benny’s studio. Benny was an aspiring DJ and, more crucially, a producer with a conveniently concreted basement apartment he was slowly filling with synths, samplers and drum machines. Sampling and chopping up this gem of a break, utilising two TB-303’s that Benny recorded live for the acid lines and creating that signature throbbing arp on a Roland JD-800, the basis of ‘Pulsation’ was born.

The duo created a series of different mixes to tweak the feeling of the track. The ‘Ascending Mix’ and ‘Sinister Mix’ bookend this reissue. The former, a club-focussed cut with subtle to squelching 303 lines, rumbling sub bass frequencies and pulsating arps that anchor the track, as the sacred drum break fires your brain into trance-infused euphoria. The latter, an ominous slice of teleportational ambient electronica, sucking you into a wormhole of galactic synthesis and dream-state harps.

The first of the remixes sees Slush draft in the progressive wizardry of Naone to provide a fresh new take on the track. Leaning into the otherworldly ‘90s atmosphere of the original, Naone radiates the pulsating theme through swelling synth stabs and a driving acid bassline. Switching up the feel with an electro-tinged drum beat, she distorts the acid dials till the track explodes into a dystopian realm of twisted techno.

The second is Robert Vaughan’s ‘Test Tube’ mix from the original 12 Inch. A no-nonsense prog headspinner, that garnered plays from the likes of Sasha and Digweed. An acclaimed DJ and producer across the ‘90s, with releases on the likes of Space Records and Metropolis, Vaughan injected the track with added breakbeat energy and swirling, tripped-out breakdowns to masterful effect.

A timeless dancefloor classic, expertly remastered and reissued with a remix that both honours and updates the original.

“Tu non hai questo suono. Non avrai mai questo sound”

Blank Mind presents three sublime versions of Big Hands’ ‘Girde Maye / Astere’ from Tammo Hesselink, Notte Infinita and Paperclip Minimiser - originally released on the Ossario EP in 2021.

Though playful in nature, and not overtly political - the lyrics explore identity and geographical boundaries. As the artist explains - it is written by an Italian and a Türk that talks in Italian, released in Britain in times of Brexit “and that’s why I chose to have a title in Kurdish in a song “sung” by a Türk.”

The vocal provides endless scope for reshaping and is entrusted to some of the most distinctive producers in electronic music; each of whom sensitively reimagine the original.

On the flip, the esteemed and prolific Tammo Hesselink produces a robust, and heavy version in his angular, crystalline style. Finally, Cong Burn wizard Paperclip Minimiser slows the tempo with a futuristic roller, an impressive creation by a man deeply immersed in technological innovation and at one with his machines.

Ltd Edition - 200 copies**

Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.

Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).

The album was mixed and mastered by Marlon Wolterink at White Noise Studio.

ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.


ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information

Von der griechischen Insel Paros kommt der Sound zum Alltag der Arbeiterklasse. Markenzeichen sind melodiöse Refrains, so geil, dass man sofort einsteigen will. Dazwischen ein fettes Brett Punkrock mit Einflüssen von Hardcore, Ska und Rap. Bisher nur digital vorhanden erscheint hier endlich das Album als LP mit zusätzlichen Bonustracks. "Relentlessly Truthful" ist hart und schnell wie die bittere Realität der Arbeitssklaven die längst die Schnauze voll haben von Korruption und Machterhalt um jeden Preis auf Kosten derer, die schwer schuften. Proteste werden von der Hand des Gesetzes niedergeschlagen und die Gegengewalt ist Notwehr. Wenn sie einem nichts mehr lassen dann muss man sich wehren und sich erheben - so heißt es im Text von "The Ones You Lost". Persönlicher Frust ist Thema in "Roll On The Summer". Mieses Wetter bedeutet keine Jobs, nix zu fressen und keine Kohle um abzuhauen. Die Einsamkeit lastet schwer und da gibt auch noch die Lieblings-Pornoqueen Sasha Grey ihre Karriere auf. Beirhythmischem Offbeat wird im Song "Grey Void" ihr Comeback gefordert. Um echte Liebe geht es bei "All Our Own Devices", so turbulent wie der Taumel der Gefühle, wenn die Achillesferse der Emotionen auch den Stärksten verwundbar macht. "Tribute Punk Rock Song" ist ein Rückblick auf die Zeit des ersten Iros, der ersten Glatze, als Reaktion auf zerstörte Träume und Ungerechtigkeit. Am Ende bleibt die Message dass man durch harte Tage durch muss um voller Stolz wieder aufzustehen. Die Mucke dazu ist elektrisierend und ehrlich und macht sowas von Lust auf mehr! Schwarzes Vinyl, nummeriert.

Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.

In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.


Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Morte.


Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.

What better time to resurrect and regurgitate one of the most extreme (and downright indefensible) releases in Alternative Tentacles history? OG Grindcore/Death Metal to the max, here’s their second-ever, from ‘92. Whole concept at the time was one big celebration and tribute to those super-gory Mexican crime weeklies, like Alarma, Peligro and Alerta. Where do you think the cover came from?? Identities were secret, all lyrics en Espanol. Rumors link some big names, from Fear Factory, Faith No More, Sepultura, and more... Why the name? Besides the obvious "Witchcraft" translation, “Santeria = animal sacrifice, but Brujeria = human sacrifice!” Or so they say. Featuring 6 amazing tracks this is Mexican death grind at its best. Enjoy.

A new album by Medway's premier alt-folk outfit The Singing Loins! Yes indeed. We caught up with Rob Shepherd to find out more about their brilliant new LP Twelve_ Q: "The new album is called Twelve. Could you settle an office debate - is it your 12th album or have you called it that because it has twelve songs on it? (We thought Here On Earth was your 12th but not according to Discogs. Also, our ability to count accurately has diminished over the years!)" A: "A bit of both. Course, there's the 12 songs, but then, depending on how you count, it's also our 12th album (from 91-98, there's the 1st 4 LPs that Damaged Goods collected together on The Complete & Utter - that's a comp though, so we can't count that eh - then there's At The Bridge with Billy, so that's 5_..we can skip Alive In Dunkerque as well cos it's a live album....then there was 2004-13 where we made four more with you, then in 2019 we got back together and made 13 Moon Songs From Merry Hell, released on the Vacilando 68 label...so that's 10_and then we did another record with Billy, The Fighting Temeraire_ so yeah, that makes this one number 12)." Q: "The album has features newly recorded versions of several Loins classics. Was it a difficult decision deciding which back catalogue songs to record?" A: "No, pretty easy - it's basically the 12 songs we enjoy playing the most with the current lineup. Saying that, it's been a bit of a meandering road getting to this point. Since Brod passed away, Arf & me have done few nights of Loins songs - and it's felt good - celebrating the songs we all wrote together - so that started the selection process. Oli, Arf's lad, joined us on percussion and then Rich, who Billy had introduced to us, joined on violin - then Chris came along to play the drums, so Oli switched to guitar - and through all that we were refining the set of songs, and we got a point where we felt that, yeah, we've sort of worked out how to do this (you know, respecting and celebrating our past, without coming on like a tribute band to ourselves), so it made sense to make the album - just to reflect where we'd arrived at....so we went into Jim's Ranscombe Studios and bashed them all out live in a couple of hours....no overdubs, no fussing over mistakes....just sing and play the songs as if it was a gig." Q: "It's been 33 years since the debut Loins' LP - How does it feel to be the elder statemen of Kent's alt-folk scene?" A: "Ha ha, are we? We don't know any other folk bands, alt or not, so it doesn't feel as though we're qualified to be the statesmen of anything! Elder, certainly, but statesmen? Nope." Q: "There's been plenty of gigs recently with more to come around the album's release, including some European dates. For people who've not seen you before what can they expect from a Loins gig?" A: "Yeah, as I said, now that we've worked out how to do this, and as we're having so much fun with it, we thought we'd get out & about. We're off to Serbia immediately after the album's release, so that'll be an adventure - Serbia was always special for us (Aleks, the promotor, took us out there to play seven or eight times in all) and we've stayed in touch over the years, so it'll be lovely to see everyone out there again. As for what can anyone expect when they see us? "Riotous fun filled joy" I've just been told, but best let everyone else be the judge of that!" Q: "The Singing Loins wouldn't have existed of course if it wasn't for Chris Broderick. Chris sadly passed in 2022. What would he have thought about the fact you're carrying on with the band and recording new music?" A: "Yeah_ he'd be happy. In the week before he passed away, he asked Arf & me over, basically to say goodbye and tie up any loose ends. And he told Arf that we should carry the Loins on. So yeah, I think he'd be pleased and proud that we're keeping the songs, and his words, alive."

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways.

Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise.

Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas.

These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising.

Her new solo album, "When It Rains It Pours" presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

Wenn es in den letzten zehn Jahren eine Musikerin gegeben hat, die man in den unterschiedlichsten musikalischen Kontexten immer wieder hören will: nicht weil sie eine passable Mitspielerin wäre, sondern weil sie diese Kontexte jedes Mal bereichert und auf spontane, unkonventionelle Weise erweitert, umdeutet, in neue transformiert, dann ist es die belgische E-Bassistin und Klangskulpteurin Farida Amadou.

Sie ist Autodidaktin - und sie versteht diese Selbstaneignung des Instruments radikal. Weder eifert sie den Virtuosen des E-Basses nach, noch verwendet sie das Instrument als reinen Klangerzeuger, der bloß Brummen und Feedbacks von sich gibt. Sie geht von einem völlig eigenständigen Ansatz aus. Der ermöglicht es ihr, eine überwältigende Wall of Sound zu kreieren genauso wie einfache, klare Strukturen, die rhythmisch prägnant sind und einen weiten Assoziationsraum zwischen Free Jazz und Noise eröffnen. 

Ihre Musik ist konzentriert, hat einen langen Atem, kreist um Motive, entwickelt daraus neue Linien, die Amadou im Spiel weiterverfolgt. Es ist ein im Wortsinne organischer Sound, ständig in Bewegung, dabei in sich ruhend. Die Stücke, die sie für Week-End Records aufgenommen hat, unterstreichen ihre beeindruckende Fähigkeit, aus der Ruhe die Ekstase zu entfachen, aus wenigen Ideen eine ganze Palette an Stimmungen aufzufächern.

Das macht sie zu einer Musikerin, die jede Gruppe, in der sie spielt, bereichert, weil sie präsent ist, ohne zu dominieren, weil ihr Sound so prägnant ist, ohne die anderen zu übertönen. Im Solo treten die Stärken ihres Spiels aber noch stärker hervor: die Kontraste zwischen zwischen dunklen, schweren Klangwolken und den rhythmischen Passagen, vor allem die Übergänge, die immer „logisch“ klingen, aber zunächst unerwartet kommen und ihren eigenen Weg einschlagen. Ihr neues Solo-Album, “When It Rains It Pours” zeigt sie als inspirierte Improvisatorin, die sich nie bloß ihren Einfällen hingibt, sondern die Ideen zu Ende denkt, oder besser: spielt. Selten klang improvisierte Musik so kompakt und zwingend.

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

repress !

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.